Kabuki

From Wikipedia, the free encyclopedia

For other uses, see Kabuki (disambiguation).

Kabuki (歌舞伎, kabuki^?) is a form of traditional Japanese theater. Kabuki theater is known for the stylization of its drama and for the elaborate make-up worn by its performers.

The individual kanji characters, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing." These are, however, ateji, characters that do not reflect actual etymology, and the word kabuki is in fact believed to derive from the verb kabuku, meaning "to lean", or "to be out of the ordinary", hence kabuki can be interpreted to mean "avant-garde" or "bizarre" theatre.

1 History
2 Elements of kabuki
- 2.1 Stage design
- 2.2 Performance
3 Famous Plays
4 See also
5 External links

[edit] History

Kabuki has changed drastically since its earliest incarnations.

Image:Okuni with cross dressed as a samurai.jpg

[edit] 1603-1629: female kabuki

The history of kabuki began in 1603, when Okuni, a miko (young women in the service Shinto shrines) of Izumo Taisha, began performing a new style of dance drama in the dry river beds of Kyoto. Female performers played both men and women in comic playlets about ordinary life. The style was instantly popular; Okuni was even asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance drama performed by women — a form very different from its modern incarnation. Much of its appeal in this era was due to the ribald, suggestive performances put on by many of the imitators; this appeal was further augmented by the fact that they were often also available for prostitution. For this reason, kabuki was also written as "歌舞妓" (singing and dancing prostitute) during the Edo Period.

[edit] 1629-1652: young male kabuki

The raucous and often violent atmosphere of kabuki performances attracted the attention of the ruling Tokugawa shogunate, and in 1629 women were banned from the stage for the stated purpose of protecting public morals. Some historians suggest that the government was also concerned by the popularity of kabuki plays that dramatized ordinary life (rather than the heroic past) and enacted recent scandals, some involving government officials.

A tryst between a man and a youth, probably a kabuki actor. Young kabuki actors were often sought-after by townsmen who followed shudo.

Since kabuki was already so popular, young male actors took over after women were banned from performing. Along with the change in the performers' gender came a change in the emphasis of the performance: increased stress was placed on drama rather than dance. Their performances were equally ribald, however, and they too were available for prostitution (also for male customers). Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly handsome young actor, leading the shogunate to ban young male actors in 1652.

[edit] After 1653: men's kabuki

From 1653, only mature men could perform kabuki, which developed into a sophisticated, highly stylized form called yarō kabuki (野郎歌舞伎, roughly, "men's kabuki,"). This metamorphosis in style was heavily influenced by kyogen comic theater, which was extremely popular at the time. Today the "yarō" has been dropped, but until relatively recently, all roles in a kabuki play were still performed by men. The male actors who specialize in playing women's roles are called onnagata or oyama (both 女形). Onnagata typically come from a family of onnagata specialists. Two other major role types are aragoto (rough style) and wagoto (soft style).

Image:Acteur kabuki Katsukawa.jpg

[edit] 1673-1735: The Genroku period

During the Genroku era, kabuki thrived. The structure of a kabuki play was formalized during this period, as were many elements of stylization. Conventional character types were determined. Kabuki theater and ningyō jōruri, the elaborate form of puppet theater that later came to be known as bunraku, became closely associated with each other during this period, and each has since influenced the development of the other. The famous playwright Chikamatsu Monzaemon, one of the first professional playwrights of kabuki, produced several influential works, though the piece usually acknowledged as his most significant, Sonezaki Shinju (The Love Suicides at Sonezaki), was originally written for bunraku. Like many bunraku plays, however, it was adapted for kabuki, and it spawned many imitators — in fact, it and similar plays reportedly caused so many real-life "copycat" suicides that the government banned shinju mono (plays about lovers' double suicides) in 1723. Ichikawa Danjuro (#9)also lived during this time; he is credited with the development of mie poses and mask-like kumadori make-up.

In the mid-18th century, kabuki fell out of favor for a time, with bunraku taking its place as the premier form of stage entertainment among the lower social classes. This occurred partly because of the emergence of several skilled bunraku playwrights in that time. Little of note would occur in the development of kabuki until the end of the century, when it began to re-emerge.

[edit] Kabuki after the Meiji Restoration

Image:Kabuki performance-J. M. W. Silver.jpg

The tremendous cultural changes begun in 1868 by the fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the west helped to spark that re-emergence. As the culture struggled to adapt to its new lack of isolation, actors strove to increase the reputation of kabuki among the upper classes and to adapt the traditional styles to modern tastes. They ultimately proved successful in this regard — on one occasion, a performance was given for the Meiji Emperor.

Many kabuki houses were destroyed by bombing during World War II, and the occupying forces briefly banned kabuki performances after the war. However, by 1947 the ban had been rescinded, and performances began once more.

[edit] Kabuki today

In modern Japan, kabuki remains relatively popular — it is the most popular of the traditional styles of Japanese drama — and its star actors often appear in television or film roles. For example, the well-known onnagata Bandō Tamasaburō V has appeared in several (non-kabuki) plays and movies — often in a female role.

Some kabuki troupes now use female actors in the onnagata roles, and the Ichikawa Kabuki-za (an all-female troupe) was formed after World War II. In 2003, a statue of Okuni, has been erected near Kyoto's Pontochō district.

Interest in kabuki has also spread in the West. Kabuki troupes regularly tour Europe and America, and there have been several kabuki-themed productions of canonical Western plays such as those of Shakespeare. Western playwrights and novelists have also experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004).

In Australia, the Za Kabuki troupe at the Australian National University has been performing a Kabuki drama each year since 1976; the single longest regular Kabuki performance outside of Japan.

Kabuki was enlisted on the UNESCO's 'Third Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity' on 24 November, 2005.

[edit] Elements of kabuki

[edit] Stage design

Image:Scene of a kabuki performance.JPG

The kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors, introduced during the 18th century, added greatly to the staging of kabuki plays. A driving force has been the desire to make manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation. A number of stage tricks, including rapid appearances and disappearances of actors, have evolved using these innovations. The term keren (外連), often translated as "playing to the gallery," is sometimes used as a catch-all term for these tricks. Some of the innovations are detailed below:

Mawari-butai: (revolving stage) Developed in the Kyōhō era (1716-1735). Originally accomplished by the on-stage pushing of a round, wheeled platform this technique evolved into a circle being cut into the stage floor with wheels beneath it facilitating movement. When the stage lights are lowered during this transition it is known as kuraten (“darkened revolve”). More commonly the lights are left on for akaten (“lighted revolve”), sometimes with the transitioning scenes being performed simultaneously for dramatic effect.

Seri: Refers to the stage traps that have been commonly employed in kabuki since the middle of the eighteenth century. These traps raise and lower actors or sets to the stage. Seridashi or seriage refers to the traps moving upward and serisage or serioroshi when they are being lowered. This technique is often used for dramatic effect of having an entire scene rise up to appear onstage.

Chūnori: (riding in mid-air) Is a technique, which appeared toward the middle of the nineteenth century, by which an actor’s costume is attached to wires and he is made to “fly” over the stage and/or certain parts of the auditorium. As these “trick” (keren) devices have fallen out of favor many stages are no longer equipped to handle them. These is similar to wire fu of modern cinema.

Image:Kabuki-makeup.PNG

In kabuki, as in some other Japanese performing arts, scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki Dōgu, or "small wagon stage". A technique which originated at the beginning of the 18th century, where scenery or actors are moved on or off stage by means of a wheeled platform. Also common are stage hands rushing onto the stage adding and removing props, backdrops and other scenery; these stage hands, known as kuroko (黒子), are always dressed entirely in black and are traditionally considered "invisible." These stage hands also assist in a variety of quick costume changes known as hayagawari (quick change technique). In plays, when a character's true nature is suddenly revealed, the devices of hikinuki or bukkaeri are often used. Hikinuki or bukkaeri is accomplished by having costumes layered one over another and having a stage assistant pull the outer one off in front of the audience.

[edit] Performance

There are three main categories of kabuki play: jidai-mono (時代物, "historical", or pre-Sengoku period stories), sewa-mono (世話物, "domestic", or post-Sengoku stories), and shosagoto (所作事, dance pieces).

Important characteristics of Kabuki theater include the mie (見得), in which the actor holds a picturesque pose to establish his character. At this point his house name (yagō, 屋号) is sometimes heard in loud shout (kakegoe,掛け声) from an expert audience member, serving both to express and enhance the audience's appreciation of the actor's achievement. Keshō, or makeup, provides an element of style easily recognizable even by those unfamiliar with the art form. Rice powder is used to create the white oshiroi base, and kumadori enhances or exaggerates facial lines to produce dramatic animal or supernatural masks for the actors. The color of the kumadori is an expression of the character's nature: red lines are used to indicate passion, heroism, righteousness, and other positive traits; blue or black, villainy, jealousy, and other negative traits; green, the supernatural; and purple, nobility.

[edit] Famous Plays

One of the most famous of the Kabuki plays is Chushingura Kanadehon. Chusingura is the story of 47 ronin warriors who avenge their lord's death and because of that crime, all 47 ronin commit Seppuku as required by the law. This was an important play because it taught the younger children the importance of honor and loyalty.

Kanjinchō